A Raga's Journey - Towering Thodi

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Isai Payanam with Charulatha Mani - Raga Thodi:

   

Film Songs in Raga Thodi:

 



Also, in "A Raga's Journey":
Full of surprises - Ragas Vasantabhairavi and Begada
Soothing the Senses - Raga Nilambari
A Rare Treat - Raga Saramati
Morning Ragas - Ramapriya and Rishabhapriya
Pious Notes - Ragas Nasikabhushani and Vagadeeshwari
Priya Principle - Ragas Rasikapriya and Ratipatipriya
Versatile Nattai
Positively Tranquil - Raga Harikambhoji
Catchy and Classical - Raga Sankarabharanam
Of Love and Longing - Chandrakauns and Surya
Godly Gowrimanohari
Kedaragowla’s Many Moods
The Royal Durbar
Joy of Hamirkalyani
Power of Three - Ragas Madhyamavati, Brindavanasaranga, Brindavani
Wake up to Valaji
Distinctly Classical - Ragas Gowla and Lalitha
Auspicious Sri
A Complex Beauty - Raga Dwijavanti
Tale of Two Varalis - Ragas Punnagavarali and Kuntalavarali
Morning ragas - Bilahari and Malayamarutham
Endearing Khamas
Light and Melodious - Raga Sindhubhairavi
Harmonious Symmetry - Raga Kiravani
Mood Enhancers - Ragas Kedaram and Bahudari
A Bright Start - Raga Hamsadhwani
Mystical Revathi
Call of the Swan - Raga Hamsanadam
Tones of Grace - Ragas Natakurinji and Kurinji
Notes of Peace - Mukhari
Towering Thodi
Notes that Intrigue - Kapi
Folksy flavours - Senchuruti  and Yadukulakambhoji
Twice as Nice - Dharmavathi and Madhuvanthi
Six-note Splendour of Sriranjani
Heart-warming Tilang
Sivaranjani for Pathos
Two for Joy - Nalinakanthi and Karnaranjani

Comments

  1. AnonymousDecember 22, 2012 at 12:21 PM

    I posted this comment on the Hindu article page but there has been no response.

    To my ears Hindustani Bhairavi has always sounded more like Carnatic Sindhu Bhairavi rather than Todi, although the published arohanam and avarohanam for H-Bhairavi and C-Todi match. From the published scales for C-Todi and C-Sindhu Bhairavi, the only difference (although Sindhu Bhairavi is vakram) is in rishabham - C-Todi is R1 while Sindhu Bhairavi is R2 during arohanam, while during avarohanam both are R1. Any thoughts?

    ReplyDelete
    Replies
    1. webmasterDecember 30, 2012 at 10:46 PM

      Todi is is defined not merely by notes and their numbers/positions...it is defined by gamakas, and oscillations...miniscule differences in the oscillations will result in a different raga altogether...when the notes are sung plain yes, Sindhubhairavi results...but again Sindhubhairavi features two dhaivatas as well. Your observations on the rishabha are clever, but not completely correct. Often in phrases that return to the sadja, the rishabha is completely eschewed in aarohana, and often yes, it is the R2 that is used. Srinath Viswanathan, to sum it up Sindhubhairavi cannot be strictly bound by rules ever...it is a free spirit that revels in springing surprises..

      Delete
  2. AnonymousDecember 23, 2012 at 4:42 AM

    I would be grateful if you would kindly let me know if you have published any book based on the column you write for The Hindu supplement on Saturdays – Journey of Ragas
    Thank you with regards
    sk Murthy

    ReplyDelete
  3. AnonymousDecember 23, 2012 at 9:43 AM

    Respected Mam,

    I am very proud of you. Because you are teaching carnatic in Name of "Isai Payanam". Mam i am hearing your "Isai Payanam" by downloading it in Internet.

    Mam i am copying it in my mobile and hearing it. I love Mr.Unnikrishnan "Deva Deva kalayamithe" song very much now i am practicing it Mam. I am more more interested in carnatic but due to poverty i have no way to study it. Please send your "Isai Payanam" video from origin. So it will increase my carnatic and my singing skill. But if i study carnatic ultimately i can become a good singer.
    Regards
    Shyam.S
    (Tirunelveli)

    ReplyDelete
  4. Anita NairDecember 15, 2016 at 7:21 AM

    I am not a Tamilian but I enjoy listening to Isai Payanam. Thanks Charulatha Madam for the excellent discourses!
    Regards,
    Anita Nair

    ReplyDelete

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